Peter Rehberg, better known to most as Pita, managed to slip this little gem out on the Mosz label in 2005 and hearing it now I can't believe I never grabbed it at the time. As a die-hard fan of Rehberg's work under the Pita moniker (which incidentally has all recently been added to our digital catalogue) the disc didn't have to do a great deal to convince me - but the fact that it is so shockingly detailed and diverse has led me to think that it could easily be one of my favourite discs from this interesting producer to date. Giving hints at what we would later come to hear on the utterly indispensable KTL albums (with Sunn o)))'s Steven O'Malley) this is a collection of subtle, murky ambience and carefully sculpted digital noise, but rather than the graphic equalizer maxing assault you might expect from someone who runs the Mego label, 'Fremdkoerper' rather analyses how you can make noise from near-silence. Occasionally closer to the works of Luc Ferrari or Iannis Xenakis than the nu-school noise that has become so popular of late, this is primarily a disc of electro acoustic explorations and should be enjoyed as such. The album opens with the quiet, slow moving bliss of 'Mutisil', which sounds to me like some kind of muted woodwind instrument encased in an expansive metallic chamber; something like Machinefabriek taken down a couple of notches, or possibly KTL without the thick waves of guitar. Before long though the volume is raised on 'Scream' which takes a looping organ sample and rhythmically abuses it throughout forcing noises out of it until the track ends in a cacophonous cloud of sound. Elsewhere we get the haunting and devastatingly beautiful ghost-choir of 'Never Worry', possibly the most cinematic piece Rehberg has ever put his name to, and the dense, throb of 'Snow' before the disc comes to a satisfying and deeply contemplative end on the glorious 'More End'. A harmonic and deeply listenable excursion into the outer limits of processed sound, Peter Rehberg has again shown why he is one of the most important experimental electronic music producers of our time. Huge recommendation.
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Peter Rehberg, better known to most as Pita, managed to slip this little gem out on the Mosz label in 2005 and hearing it now I can't believe I never grabbed it at the time. As a die-hard fan of Rehberg's work under the Pita moniker (which incidentally has all recently been added to our digital catalogue) the disc didn't have to do a great deal to convince me - but the fact that it is so shockingly detailed and diverse has led me to think that it could easily be one of my favourite discs from this interesting producer to date. Giving hints at what we would later come to hear on the utterly indispensable KTL albums (with Sunn o)))'s Steven O'Malley) this is a collection of subtle, murky ambience and carefully sculpted digital noise, but rather than the graphic equalizer maxing assault you might expect from someone who runs the Mego label, 'Fremdkoerper' rather analyses how you can make noise from near-silence. Occasionally closer to the works of Luc Ferrari or Iannis Xenakis than the nu-school noise that has become so popular of late, this is primarily a disc of electro acoustic explorations and should be enjoyed as such. The album opens with the quiet, slow moving bliss of 'Mutisil', which sounds to me like some kind of muted woodwind instrument encased in an expansive metallic chamber; something like Machinefabriek taken down a couple of notches, or possibly KTL without the thick waves of guitar. Before long though the volume is raised on 'Scream' which takes a looping organ sample and rhythmically abuses it throughout forcing noises out of it until the track ends in a cacophonous cloud of sound. Elsewhere we get the haunting and devastatingly beautiful ghost-choir of 'Never Worry', possibly the most cinematic piece Rehberg has ever put his name to, and the dense, throb of 'Snow' before the disc comes to a satisfying and deeply contemplative end on the glorious 'More End'. A harmonic and deeply listenable excursion into the outer limits of processed sound, Peter Rehberg has again shown why he is one of the most important experimental electronic music producers of our time. Huge recommendation.
Peter Rehberg, better known to most as Pita, managed to slip this little gem out on the Mosz label in 2005 and hearing it now I can't believe I never grabbed it at the time. As a die-hard fan of Rehberg's work under the Pita moniker (which incidentally has all recently been added to our digital catalogue) the disc didn't have to do a great deal to convince me - but the fact that it is so shockingly detailed and diverse has led me to think that it could easily be one of my favourite discs from this interesting producer to date. Giving hints at what we would later come to hear on the utterly indispensable KTL albums (with Sunn o)))'s Steven O'Malley) this is a collection of subtle, murky ambience and carefully sculpted digital noise, but rather than the graphic equalizer maxing assault you might expect from someone who runs the Mego label, 'Fremdkoerper' rather analyses how you can make noise from near-silence. Occasionally closer to the works of Luc Ferrari or Iannis Xenakis than the nu-school noise that has become so popular of late, this is primarily a disc of electro acoustic explorations and should be enjoyed as such. The album opens with the quiet, slow moving bliss of 'Mutisil', which sounds to me like some kind of muted woodwind instrument encased in an expansive metallic chamber; something like Machinefabriek taken down a couple of notches, or possibly KTL without the thick waves of guitar. Before long though the volume is raised on 'Scream' which takes a looping organ sample and rhythmically abuses it throughout forcing noises out of it until the track ends in a cacophonous cloud of sound. Elsewhere we get the haunting and devastatingly beautiful ghost-choir of 'Never Worry', possibly the most cinematic piece Rehberg has ever put his name to, and the dense, throb of 'Snow' before the disc comes to a satisfying and deeply contemplative end on the glorious 'More End'. A harmonic and deeply listenable excursion into the outer limits of processed sound, Peter Rehberg has again shown why he is one of the most important experimental electronic music producers of our time. Huge recommendation.